techno

What the hell is house music?

February 8, 2016 by Aaron

deep house, dj, electro house, house, house music, techno

Aaron again – I’m back researching genres. Today I thought I’d look into House music. One thing to note is that all genres that are considered “electronic”, and also hip-hop for the most part, come out of limitation. What I mean is, electronic genres generally developed as responses to NOT having the resources (financial, equipment or human) to present live music on stage with “real” instruments. While the inventors of synthesizers were making weirdo music because they were interested in what new sounds and methods could create, in the trenches, people were making music any way they could, and synthesizers and sampling (including cutting and beat matching with vinyl records) were ways a person could creatively create music without a band at their disposal. Pause loop tapes are another example of this kind of ingenuity.

A pause loop tape is simply a beat made by dubbing a section from a cassette another another cassette, then pausing the new cassette just at the right spot, then rewinding the other cassette to play back the section, thus extending a section, for example if a popular song has just drums for a few bars. This is the same concept as vinyl cutting, only pause loop beats can’t really be done in real time. But for the generation JUST after the first generation of DJs, this was what made sense (I happen to be in that generation – and I made TONS of pause-loop hip-hop.)

So – because the methods, the reason for the methods, and the group of people are generally the same, *I* consider EVERY electronic genre hip-hop. Many would disagree though, because hip-hop is really a culture, not a kind of music. But, since the culture really is connected, it’s really all the same stuff. However, hip-hop and EDM grew from the same place and separated…one did not grow from the other.

What made me think of this is that one of the first things Wikipedia had to say about House is that it was similar to disco. Ah ha! The first hip-hop also grew from disco and funk (in fact the first hip-hop bands were actually bands – eg: Sugar Hill Gang). And really, each of those genres grew into basically the synthesized equivalent of its predecessor. (That could be why in my solo act, I keep going more toward live instrumentation).

So – house music.

Quoting Wikipedia again:

House music is a genre of electronic dance music that originated in Chicago in the early 1980s. It was initially popularized in Chicago, circa 1984. House music quickly spread to other American cities like Detroit, New York City, and Newark – all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia.[17]

If you remember in my techno post, I quoted Wikipedia as saying “In Detroit techno resulted from the melding of African American music including Chicago house, funk, electro, and electric jazz with electronic music by artists such as…”…and I also mentioned it came about in the mid to late 80’s.

That’s interesting, because I would have thought of house as a subset of techno. Turns out no. Although I also long thought of “techno” as a catchall term.

Ok – so what does it sound like?

Wikipedia claims this song:

“On And On”, by Jesse Saunders is “often cited as the first Chicago house record”. First thing I notice is that bass sound. That sound, which is often the “synth bass 1” or “synth bass 2″ sound in synthesizer setups (in general MIDI it’s patch 40, Synth Bass 2), sounds very characteristic of house to me. We use a version of it in The Instant:

[sc_embed_player fileurl=”http://www.nquit.com/sounds/ThirdOption/TheFourHardEdgesOfWar/samples/08TheInstantSample.mp3”] (you’ll have to get about a minute in to hear it)

Here it is again in the classic hit, Pump Up The Volume, by Marrs:

The other thing you hear a lot of in house is the use of the TR-909 or TR-808 snare drum sample. That’s that cheesy 8 bit snare sound you hear in Pump Up The Volume. Third Option doesn’t tend to use that sound.

The other common thing in house is it’s super repetitive, a little bit minimal compared to disco or techno, and a lot of times, again, is instrumental. The time signature, again, is always 4/4, and the tempos are typically between 120-140 (or so), like techno. In other words it’s music for dancing. Specifically for being in a club and dancing and going into a trance (although trance music is something else 😉 ).

So, like techno and almost all EDM (unless it’s downtempo or chill), house is usually heavy on bass, has the kick drum hitting on every beat (ooon tss oon tss oon tss oon tss) and any creativity in rhythm is generally left to the hats or clavs – high small sounds. Notice though, that a GOOD club mix is actually not too bass heavy in the way it’s mixed – that’s because a club will have massive woofers – you don’t want to overdo it. But you do want it to thump. So electronic dance music, house included, doesn’t generally consist of, say an acoustic guitar and a singer without drums 🙂

I would say that’s the first and most basic qualifier for hip-hop music, too. DRUMS are the most important element (aside from the rapper…clearly rappers are gods and should be respected as such – and rapper/singers…well…. 😉 😉 ).

Ok now that I’m done talking smack… let me know what genre we should explore next – or if you haven’t done it, grab the latest Third Option free download at thirdoptionmusic.com/free-music and see if you can figure out what the hell Third Option is 🙂

Until the next time!

— Aaron from Third Option

***EDIT
I had to go back and include this: Chris Lake/Chris Lorenzo, “The Calling” this is where house is now. SO different. I’d call this deep house which is a sub-genre…although some might argue there. 🙂

What the hell is techno music?

February 8, 2016 by Aaron

juan atkins, kraftwerk, techno, techno music, techno music history

Aaron here. We’ve been researching genres lately. It may be obvious, but it helps to be able to “pigeonhole” your music as much as possible so you can find the people who will really be into you. With us it’s not easy! Everything we come across sounds nothing like us, even though if we look at the elements, it looks like we match. But the whole is more than the sum of its parts in music.

So we thought we’d go through some genres and post a little about them, as a way to help us find our niche, and to share the info we gain, and to make new friends in the process…

So – Third Option has long been called “techno/classical/poetry fusion”. So let’s look at “techno”.

The Wikipedia definition of techno begins like this:

Techno is a form of electronic dance music that emerged in Detroit, Michigan, in the United States during the mid-to-late 1980s. The first recorded use of the word techno in reference to a specific genre of music was in 1988. Many styles of techno now exist, but Detroit techno is seen as the foundation upon which a number of subgenres have been built.

In Detroit techno resulted from the melding of African American music including Chicago house, funk, electro, and electric jazz with electronic music by artists such as Kraftwerk, Giorgio Moroder, and Yellow Magic Orchestra.[6] Added to this is the influence of futuristic and fictional themes[7] relevant to life in American late capitalist society, with Alvin Toffler’s book The Third Wave being a notable point of reference.

Sounds about right. But what does it really sound like? Well Wikipedia’s got an example of very early Juan Atkins techno:

That sounds right to me, but it actually sounds like some of the old hip-hop/breakdance music I used to jam to as a kid…like this one:

Whodini’s “The Freaks Come Out At Night”, which is classified as “hip-hop/electro”.

Omg that’s nothing like Third Option! Hmm…perhaps the instruments used don’t define the genre? Because indeed, we use very similar techniques…

Ok well techno didn’t just come from Detroit – it also came from Germany, and everybody who talks about techno talks about Kraftwerk. Here’s some early Kraftwerk:

I used to LOVE this jam! It was on the SAME mix tape as The Freaks Come Out At Night. 🙂 Wikipedia calls this song “electronic”.

But that still doesn’t sound like Third Option…but you know what, it doesn’t sound like modern techno either. Here’s somebody’s mix set of what sounds more like modern techno to me:

Hmm. That’s closer. But still…let’s see – Wisegeek says techno “emphasizes rhythm and utilizes advancements in music technology and production”…they say more of course, but if that was all you had to go on, this would define EVERY SINGLE GENRE OF MUSIC.

AYE YAI YAI! Let’s cut to the chase here. Music genre, like many things, is something that is very easy to see and hear. We can say “that sounds like that” and “that is not like that” very easily. And if we’re trained we can describe things. For example, we can say that techno music is pretty much always in the 120 BPM to 140 BPM tempo range, whereas hip-hop is almost always between 80-100. We can say that pretty much every kick drum in techno is some version of a TR-808 sample. We can say that techno usually consists of the use of synthesizer patches like sawtooth and square waves. We can say that it usually consists (nowadays) of “transcendant, rising melody” and almost never consists of a whole lot of vocals outside of sample snippets. But exceptions to these rules exist everywhere, and really, you can’t successfully describe what it is. You just know. It either is or it isn’t.

Is “techno” a catchall term? According to a lot of folks, no, it isn’t. I think of it as a catchall..but perhaps it’s not. Certainly the few examples here fit together pretty well. It either is or it isn’t…

So…is we or isn’t we? If you want to help us figure it out, travel over to thirdoptionmusic.com, grab the free download there, and email us at thirdoption @ nquit . com – and suggest a genre! 🙂

We’ll continue this genre journey later…

— Aaron

What The Hell Is Electronic Music?

February 8, 2016 by Aaron

dj, electronic music, electronic music genres, house, max matthews, moby, synthesizers, techno, trance, turntablism

Hi! Ok so we’re mirroring some stuff that was on Third Option’s site here – because if it’s relevant both places, why not have it both places? 🙂

I probably should have started this “series” with this question – what the hell is electronic music? It seems like an obvious answer – it’s – uhm – electronic? And it’s music?

But it’s actually a deep thing and one of those esoteric things if you think a little on it. It’s like asking “what is technology?” – mostly we think of technology like smart phones or other electronical new fangled gadgets. But technology really just means “a capability given by the practical application of knowledge” (Merriam-Webster). That means an ape using a stick to capture termites to eat is technology.

Similarly with electronic music, how do you define it? Well Wikipedia says “Electronic music is music that employs electronic musical instruments and electronic music technology in its production”. Yes. But actually, EVERY SINGLE RECORDING YOU EVER HEARD employs “electronics” in its production. So when you start out and you want to become an “electronic musician” you’re really just setting out to learn to record. All the technologies are the same as in rock, hip-hop, or even flat out acoustic music (when you make recordings of it). Even deeper than that, acoustics are the same science, sound is sound, and so on.

But – you have to admit, although TECHNICALLY “electronic music” means basically any damn thing other than a live performance with only acoustic instruments and vocals – in practice it means something else. No one refers to a rock band with a live drum set and guitars as “electronic music”. And no one really refers to hip-hop as “electronic music” although it REALLY actually is.

What is it then? Is it dance music? Not necessarily. Is it bloops and bleeps? Also, not necessarily. What it is is, music that is created with mostly synthesizers or computers, and even when performed live, utilizes mostly synthesizers and/or computers. Would turntablism count as “electronic music”? No not really, but turntablism and electronic music go hand in hand, because really what “electronic music” means is playing machines as instruments. That’s not even fully right…it’s more like…playing music with stuff that’s not the traditional thing…so it’s not playing guitars or drums or violins or pianos…it’s making turntables create a beat by sampling pieces of stuff…or programming a computer to create sounds that are musical…or…wait…playing synthesizer keyboards? Or…guitars live? Wait…it’s all jumbled up!

That’s because music is music, kid. Still – just like with techno or house or trance – you know when something is “electronic music”, even when you can’t accurately describe it with words. Pearl Jam is NOT electronic music. Limp Biskit and Bon Jovi, although both chock full of the use of synthesizers are NOT electronic music. Moby IS electronic music, even though he plays a live damn bass on stage.

Confusing. But not. Here’s an incredible, overwhelmingly long list of electronic music genres. My god!

I’ve been going through some of them, to try and more accurately describe (and target) Third Option. There’s a long list, and maybe one will fit! Or not. The reason there are SO many genres is because people come along and do something that doesn’t fit. A few people will usually copy the trendsetters, and then somebody names that style. That happens really quickly now.

Still, if you go back in time, you start to see that the pioneers of “electronic music” are also the pioneers of “recording” and really there’s not as big a separation between them and “traditional” musicians as you might think. I’ve had the privilege of hearing Max Matthews play quite a mean violin! (Check out that link – Max Matthews was one of the originals – basically invented digital audio. You can thank him for the CD – and he was an accomplished musician.)

So what the hell is electronic music? I couldn’t tell ya, but I think you’ll know it when you hear it 😉

Maybe Third Option will just invent its own genre. What do you think? Why don’t you send us an idea or two at thirdoption @ nquit.com 🙂

More to come…

— Aaron

Trains Interlude

February 8, 2016 by Aaron

interlude, lin, option, piano, sandy, techno, the four hard edges of war, third, trains, violin

Ok – still going through Third Option’s The Four Hard Edges Of War.

Here is track 4, “Trains Interlude”:

This has no vocals, just music. I like it. It’s ..what’s the word? Reminiscent? Or something? I like the multiple violins. I wrote a simple violin line and a fellow student at Stanford, Sandy Lin, played it. She was really rusty so it was quite inconsistent, but that was actually perfect. I had her play it 7 times. Then I panned them around and added a fake violin playing the same line. I personally liked the result.

There’s all this cutting around, and in the surround sound version the stuff gets abruptly cut from one place to another – behind you, in front, etc. That was an accident that people in class liked, so I actually made the stereo version MORE abrupt to match what I accidentally did in the surround version.

It’s weird to listen to this stuff again, and try to talk about it in a way that other people might care about. You do something like this and you really hope it moves somebody other than you, but does it? Does it matter? (I think it does) Hmmm. Nostalgic? Is that what this song sounds like?

Well tell you what, if you happen to see this, shoot me and email and tell me what stuff YOU’D like to read about or hear about… 🙂 I’m at aarontrumm @ nquit .com for purposes of this. 🙂

Meanwhile you can grab some free stuff at www.thirdoptionmusic.com – just as a little thank you for even reading this 🙂

— Aaron

[purchase_link id=”1275″ text=”Download The Four Hard Edges Of War Here” style=”button” color=”blue”]

Two Trains

February 4, 2016 by Aaron

andre de korvin, music, nquit, piano, poetry, techno, third option, two trains

Hey! Still (slowly) writing little bits about tracks. Here is track 3 from the main The Four Hard Edges Of War:

I didn’t do it on purpose (except maybe subconsciously), but I can’t help but notice the beat is sort of like – well – a train chugging along. Chigga chigga chigga chigga – CHOO CHOO!

“I would like to sleep, oblivious of the thousand faces of corruption” – see it’s lines like that that just get me. Andre de Korvin is a badass poet!

What else can we say about this track that you might care about? Well there’s two piano tracks again. And there’s some crazy delay effects on them. There’s also several versions of the drum track that kind of get layered. I love when the beats just BREAK and for like a measure is JUST live piano – that sounds fantastic to me. I love contrast and I love natural instruments….oh and then it breaks again and he’s talking “and ivy grows from dolls with cut off heads…”

I’m not sure I actually love this song personally though…it’s so airy and ethereal in a way that I don’t enjoy, but hopefully other people. That’s something to note. A lot of times you just make the music that YOU want to hear…but sometimes the muse pulls you and you end up just playing, composing, doing something that you really don’t even care for as a listener, it’s not what you would have thought of, it’s just flowing through you. It’s not for you and it may not even be FROM you, if you believe in that sort of spiritual stuff. I think letting that happen is really very key. I think that’s a part of the right of passage of a creative person, especially a professional, to be able to follow the muse, and follow through and finish things, and let go and let it be for other people. I talk about it being for other people a lot. That’s why musicians seem to crave attention or fame, I think. Because they want to know that what they’re doing musically is affecting and moving other people. It’s this dream to think of gobs of people having a relationship with something you made…

I still like that thought…

Ok I got mixing to do…

The Far View

July 28, 2015 by Aaron

andre de korvin, poetry, techno, the four hard edges of war, third option

Here’s the second track on The Four Hard Edges Of War – The Far View.

What can I say here? As I listen I’m trying to remember how to play that piano part. It’s amazing how much you can forget. Oh there’s two piano parts. I do that a lot. Like a duet – only I’ll record in the same range – so it’s like two actual pianos rather than four hands one piano.

I love the line “..that emptiness starts to fill their space…”. I always found the poem/book (The Four Hard Edges Of War) so amazing because it’s so surreal but then if you look again at the language it’s SO plain. I think Andre’s a big ‘ol genius.

There’s all this scheme programming in this one I think. And multiple versions of the drum loop that are messed up in various ways.

“Awake and drifting through the water…”

“red faces of admirals flicker..”

That’s kind of how I hear poetry when it’s read, in these snippets surrounded by un-languaged energy swirling around. I hadn’t noticed that that’s how I then used the poem in this bunch of avante garde ass techno dance music. I was thinking of it like samples you might hear in a night club. We always thought of Third Option that way. You’d go to an underground club and hear the boom boom chi boom and then some snippet of a movie or something – it might say “danger danger go go go” or something and we wondered what it would be like if those snippets were actual poetry – and original. So here’s Andre doing this thing in snippets – and it’s much different – but hopefully honors, Andre’s meaning and energy in his original poem and reading. Of course we made the original reading available too, because HEY! 🙂 Here’s that:

Ha Ha when I hear him say stuff, I expect the beat to come in…and then it doesn’t! lol

Wow. “I would like to sleep, oblivious, of the thousand faces of corruption.” Yep.

HEY! Here’s a thing – you can now grab a couple FREE Third Option tracks – just click HERE and enjoy on me! 🙂

[purchase_link id=”1275″ text=”Download The Four Hard Edges Of War Here” style=”button” color=”blue”]

The View From Lighter Years Away

July 17, 2015 by Aaron

andre de korvin, nquit music, piano, poetry, spoken word, techno, the view from lighter years away, third option

HEY! For the first time in like…what? 10 years? I’m writing these little blog posts again! Linking to TUNEZ, sayin some STUFF. 🙂

Ok…I’m gonna start in on The Four Hard Edges Of War, which is the last Third Option album, made mostly at CCRMA at Stanford. It’s a collaboration between me and Andre de Korvin, a great great poet from Houston. So first of all, here’s the first track…

The View From Lighter Years Away

That title is his – see what we did is, there’s a book by him: The Four Hard Edges Of War which as you see, we’ve also re-released as a digital book…

We recorded him reading the book. Then years later, I cut up piece of that recording, and used it as inspiration and weaved it in to a bunch of avante garde techno/piano. The View From Lighter Years away is track 1, because it’s section 1 in the book. The book is four parts.

All of the music stuff on Four Hard was created in strange ways, as various homework assignments in the master’s program at CCRMA. There’s real pianos that I played, but there are also drum tracks written in linux using Hydrogen, there are noise pieces and riffs written by programs…yes I meant that. I would write programs that would write music. That was part of the course of study! Here’s a picture of the studio where a lot of this record was made:

That’s actually a picture from 2013 but it’s pretty same same.

Andre was recorded earlier – like in 2002 or so, in Houston at Rock Romano’s Red Shack.

So there you go – a short post, but a post none-the-less!

HEY! Here’s a thing – you can now grab a couple FREE Third Option tracks – just click HERE and enjoy on me! 🙂

– Aaron

[purchase_link id=”1275″ text=”Download The Four Hard Edges Of War Here” style=”button” color=”blue”]

You Can Never Stop Us

September 18, 2008 by Aaron

aaron trumm, classical, fusion, monkey set, poetry, spoken, techno, third option, trance, word, you can never stop us

You Can Never Stop Us, by Third Option

Oh wow I almost forgot about this one. The thing that I like about this one, actually, is how there’s this group of dudes (multiple version of me of course) saying “you can never stop us” real fast and for most of the time, it just sounds like rhythm instruments, but then at times I notice “oh yeah those are dudes saying you can never stop us!” That’s neat 🙂

There’s really a mixed message in this piece of poem. It’s interesting, because I do that a lot, but I think that makes a more accurate representation of “truth”. “Truth” isn’t this black and white thing where you can take one position. I’ve always said (not always – but a long time) that “truth is a mobius” – meaning that if you take a “position” on something, and follow the train of logic long enough, you’ll find yourself saying the opposite of what you started saying. I think this is part of the fundamental nature of things, where reality is paradoxical – and we do find that most of the greatest truths ARE very paradoxical. Committment-Non-Attachment is one of the major ones.

When it comes to this poem, there isn’t really a paradox as much as a double-edged sword. I was ranting about the wonderfulness of monkeys (monkeys still of course being a very thinly veiled metaphor for humanity) and I say how we dance on the corpse of impossibleness and it seems that this is good news to me, and I like it, and I want it. And then I say how we will adapt, and that still seems to be good news, but then in the next line I say “too dry, monkey? casinos with water fountains every 30 feet” and at that point it no longer seems like good news. Now I’m saying this is ridiculous, we’re not accepting, in effect, we’re NOT adapting, we’re forcing the environment to adapt, we’re trying to put water where there is not water.

And that does sort of emphasize again the mobius nature of truth and reality. We start out with adapting, take it too far, and come out not adapting. Doing the very opposite. And well, I guess I just become another person pointing out that there can be too much of a good thing, that anything taken too far is too much.

I guess that’s why some wise people say “everything in moderation, even moderation.”

The “lyrics” in question:

allow me to introduce myself
i’m the tallest monkey in the clouds
and you can never stop us
because monkeys know just what to do
where to do it
and how

monkeys know just how to howl at the moon
like wolves could never do
you can never stop us
we’ll run to the edges of earth
and when 100 of us know
the rest of know

and when the rest of us follow the edges of the san francisco trolly of the beat
monkeys help dance on the corpse of impossibleness

until the fattest monkey of them all transforms
right here in the desert
monkey wants to make a killing in the arizona sun
too hot, monkey?
we’ll adapt
too dry, monkey?
casinos with water fountains every 30 feet
monkeys
monkeys
show us your true colors

trapped at the edges of the world rolling dough

you can never stop us
you can never stop us
you can never stop us
you can never stop us
you can never stop us
you can never stop us
you can never stop us
you can never stop us
you can never stop us
you can never stop us
you can never stop us
you can never stop us
you can never stop us
you can never stop us
you can never stop us
you can never stop us
you can never stop us
you can never stop us
you can never stop us
you can never stop us
you can never stop us
you can never stop us
you can never stop us
you can never stop us

Even if you want to stop us ;), there’s still free stuff at thirdoptionmusic.com 🙂

– Aaron

[purchase_link id=”1318″ text=”Download The Monkey Set Here” style=”button” color=”blue”]

Kong

September 11, 2008 by Aaron

fusion music, kong, monkey set, nquit, piano, poem, techno, trance

Kong, by Third Option

and here we are
at the green leafy apocalypse of it all
fallen down
broken bones

temptation sin and banishment
here we are
in the locker rooms and candlewax shops we forgot about
everything torn down and overrun

king kong fallen in the night
done in by monkeys
mighty mighty mad world
might wonder why the jungle does this

but we all know
it was the aching sun at fault
comparing the trusses of the castles of the sky to arms
making as much sense as a garden full of monkeys
laughing laughing laughing
crazy at the sight of king kong’s blood

“some might have thought,” they howled
as he felt long ago
how one ape rule the land
tile monkeys merge one day
on high ground

til one becomes 10 becomes a million of us
joined by the tail

standing in the blazing sun
one mega monkey with a crown
gleaming
choking
groping for a name

we forgot the last
we beat sense into our own breast and put the smaller monkeys back
we call ourselves king
and kong sits soon to follow

Hmm. Interesting. A lot in here. I’ll just listen.

You too! 🙂 If you haven’t already, you can get some free downloads at thirdoptionmusic.com 🙂

– Aaron

[purchase_link id=”1318″ text=”Download The Monkey Set Here” style=”button” color=”blue”]

Monkey See

September 9, 2008 by Aaron

aaron trumm, monkey see, monkey set, nquit music, poetry, propellerhead rebirth, techno, third option

Here’s Monkey See, by Third Option

Hmm. Maybe I should have made other songs called “monkey do” and…oh that’s the whole phrase.

Some of this is improv’d too, but then I guess I wrote it down and then recorded it – or something.

monkey monkey monkey see
monkey do
monkey make money in the back of the zoo
monkey take
monkey make
monkey make money make money monkey
make take money take monkey take
monkey take
monkey don’t like to give
now all the vicious monkeys in the jungle cage the rest in zoos

monkey
monkey
monkey!

monkey jump from the bridge to the roof
monkey sit sadly in the street lights waiting for groove
monkey
monkey
monkey say
wanna plaaaaaaaaaaaaaayyyyyyyyyyyyyyy????

monkey dance with demons when the day go away
monkey wants
monkey wants
monkey wants what they don’t have in santa monica zoo
monkey thinks
monkey sits
monkey finally decides to split

and now monkey gets all fucked up on qualudes and burnt toast
and all monkey wants to do is fuck some little monkey girls
but monkey girls know better than to fuck with monkey now
’cause monkey look more like an ape these days
all buffed up on horse hormones
lookin like he mighta gone to mad monkey land
“yeah, i’m mad,” monkey says
“I’m really really mad! because they don’t play my song anymore!”
“because they won’t give me what I want anymore”
“because all those things we talked about before ain’t happenin anymore”
“because I NEED my monkey greed, motherfucker”
“and I’mon wrap my tail around any tree limb coca leaf twig bean or branch”
“that takes me outta this fucked up America of broken monkey lives”
“i’m not a monkey, I’m just a brown man with a brown plan”
“and maybe you oughtta remember that the next time you slap my hand”
“yeah, monkey read, monkey think, monkey LEAD”
“monkey rise up and make a revolution”
“how many king kongs are there?”
“only ONE”
“and when he falls,
“all the monkeys and lions and wildebeasts in the jungle are gonna have a little love in”
“til there ain’t no more powder cane monkeys spillin poison in the jungle streets”
“til there ain’t no more woe or wonder or hard monkey choices”
“til the rest of us take charge”
“and NOBODY calls us monkey anymore!!!”

Meanwhile, still have some free stuff at thirdoptionmusic.com 🙂

– Aaron

[purchase_link id=”1318″ text=”Download The Monkey Set Here” style=”button” color=”blue”]

音樂是唯一的希望

What the hell is house music?

What the hell is techno music?

What The Hell Is Electronic Music?

Trains Interlude

Two Trains

The Far View

The View From Lighter Years Away

You Can Never Stop Us

Kong

Monkey See

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